Miss Tamplin

07/1834 · Portrait miniature · 8.7 × 6.5 cm

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『Miss Tamplin』は今どこに？ 所蔵: ヴィクトリア&アルバート博物館, ロンドン. 現在は展示されていません. 確認 2026年9月25日.

ヴィクトリア&アルバート博物館

ロンドン, イギリス

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確認: 14 日前
この状態になった日: 2026年9月25日
出典: 美術館

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この絵画について

In the late 18th century a new sister art and rival to miniature portraits appeared. Since about 1700 miniaturists had worked on ivory, and before that on vellum (animal skin). Up to the late 18th century, watercolour was used mainly by topographic artists, who applied it on paper to tint their drawings. But as watercolour painting developed as an art in its own right, miniaturists saw that working on paper was easier, and so quicker and cheaper. They could thus attract new patrons. Many now widened their repertoire and developed types of watercolour portraits on paper or card. They produced elegant graphite drawings, either tinted lightly with a watercolour wash or with the sitter's head painted minutely in watercolour. But unlike the more expensive vellum or ivory, paper can quickly discolour and degrade.

This portrait also borrows from another fashionable rival to miniature painting, the profile. Silhouettes, or ‘profiles’ as they were known then, became popular in the 1770s. At that time the archaeological discoveries of Roman sites at Herculaneum and Pompeii encouraged a taste for Neo-classicism. ‘Profiles’ became even more fashionable after about 1775, when Johann Kaspar Lavater published his hugely popular Essays on Physiognomy. He claimed that one could detect a person’s character by concentrating on his or her main features. These would reveal both virtues and vices. Lavater illustrated the book with numerous simple black profiles.

ヴィクトリア&アルバート博物館